Spotlight on Chaplin

One of the earliest cinematic memories I have is of watching a Charlie Chaplin film. My parents recall taking me to a Chaplin special series at a local theater when I was between 3-5 years old. Even though they remember me as being very fond of the movies, I don't remember anything except two images which are still clear in my memory -- the first is of Chaplin eating a shoe and the second is him struggling to stay to on his feet while the house around him moved like a see-saw. But as I grew up, I forgot all about Chaplin's films and never saw anything else by him. So in order to finally rectify my cinematic lapse, I decided to visit some films from a film-maker whose work I was introduced to even before I could formulate a complete sentence!! I picked four films at random and as it turns out, the fourth film from my choice ended up being the one from my childhood memories :)

Poverty, homelessness & dream sequences:

The Kid (1921): Rating 8.5/10

Chaplin's Tramp character comes across a small baby left on the street side.



He takes care of the baby and the child grows up in Tramp's spitting image, complete with similar antics and dress sense.

The two create havoc on the streets. But with the Tramp, the police are never far behind. In this picture, he is flirting with a woman. But as it turns out she is the wife of the police chief who is after Chaplin. The chief reaches out for Chaplin who is busy laughing. Little does he know...

Despite all the problems, we eventually get a sweet and tender happy ending. But before the ending, we are treated to some slapstick comedy, a dream dance sequence and some emotional moments.

Modern Times (1936): Rating 10/10

Right from the film's opening moments upto the finale, we are treated to a very rich and enjoyable story!

The opening two shots of the film perfectly convey the master-slave motif that the story tries to portray. The first picture is of sheep being herded, which is followed by...

a picture of men rushed through a subway en route to the pains of a daily working life.

The working life means no time for a break or even a smoke -- work, work, work!!. In the following picture, the Tramp can't even enjoy a break in the bathroom because the giant tv screen allows the boss to see what everyone is upto! (Note: the movie was made in 1936, 13 years before Orwell crafted his big brother 1984).

In order to improve efficiency, the boss even entertains the idea of a machine which feeds lunch to employees so that they can get back quicker to work!

Ofcourse, working with machines is a perfect opportunity for the Tramp to get into trouble. In the next two pictures, he finds himself trapped in the giant internals of the machine.


Eventually, despite all his adventures and troubles with law, the Tramp finds true love with a Gamin. In this picture, she comes to greet him after his latest release from jail.

Both are poor but as they say, home is where the heart is. And this simple shaft is called "Paradise" by the Tramp.

The Tramp is content in love but he soon finds out that love can't buy food. So he is determined to find a job to provide for a better life for the two of them. He lands a job at a local club and is willing to do anything to please his bosses, even if that means singing!

The next pictures are when the Tramp sings the "nonsense song", a gibberish mixture of Spanish, French and Italian sounding words which make no sense. Nonetheless, the catchy music along with his dialogue delivery and expressive antics make for a very enjoyable song!! Je La Tu La Ti La Twa



But the long arm of the law catches up with the two of them and they are on the run again. Despite all their problems, the Tramp tells the Gamin to see the bright side of life. Smile :)

A very sweet and romantic walk into the sunset!! Perfection!!

City Lights (1931): Rating 7.5/10

This time the big complicated city forms the background for the Tramp's latest adventures. After the tramp saves a rich man from committing suicide, he is awarded with plenty of money and even a car. But with all these additional riches come more complications. And his love for a blind girl only increases his needs. Like his previous films, the Tramp is willing to work only for the benefit of others around him. Otherwise, he is content with his wandering ways. The film is a bit thinner on story and uses slapstick comedy to strech the movie along.

The Gold Rush (1925): Rating 8/10

The following image on the DVD menu indicated that this might be the movie from my childhood:

As it turns out, this was indeed the film that I saw when I was less than 5 years old. I can see why I liked this movie as it is mostly slapstick with the Tramp trying his best to stay out of trouble.

Even though the title might lead one to imagine an adventure in a hot countryside, the film is set in the freezing mountain locales. The two most essential requirements in these conditions are to stay warm and get adequate food to eat. The tramp eventually finds a shelter to stay in but food is the problem. And this is where the famous scene from my childhood memories comes into play.

With no food around, the tramp decides to eat a piece of wood.
He finds that the wood tastes better with a little salt!

And when there is nothing around, he decides to try his luck with a tasty boiled leather shoe.

Next, the shoelaces must be treated like they are noodles.

Bon Appétit!

After finding it difficult to use a knife to tear into the shoe,

he decides to bite into the leather sole.

The other scene from my memory takes place near the film's end when the house is pushed to the edge of a cliff.


Once the house falls over the cliff, a pile of gold is found where the house once used to be. The Tramp becomes rich and eventually gets his woman.

Cue happy ending!!!!

Memories & Influences:

What memories! The Chaplin films have influenced countless imitations in the cinematic world from Hollywood to Bollywood. Raj Kapoor's masterpiece Shree 420 owes plenty to the Tramp character. Even the wonderful song "Mera Joota hai Japani" has shades of the Tramp's attire & wandering ways.

Michelangelo Antonioni Films

When I heard of the consecutive deaths of Bergman and Antonioni, I felt a sudden jolt. Even though it had been a few years since I last saw a film by either of them, their deaths were a reminder that the masters of cinema are all but gone (Godard and Alain Resnais remain and are amazingly still making films). Driven by a guilt at having not seen some of his masterpieces and in way of a tribute, I decided to visit some of Antonioni's critically acclaimed films.

Mystery, Loneliness, Beauty and disappearances:

L' Avventura (1960): Rating 9/10

A beautiful woman. A picturesque Italian countryside. But all is not right beneath the surface. Anna (Lea Massari) is unsure about her affair with her lover, Sandro (Gabriele Ferzetti). She undertakes a trip with him, her good friend Claudia (Monica Vitti) and few others. An isolated island. 30 minutes into the film, Anna disappears. Just like that.

Everyone looks for her but to no avail. Claudia is distraught because because she cared for Anna the most.




Sandro tries to look for her but eventually runs out of ideas.






Claudia has lost feelings for everything. A beautiful sun-rise only means that an entire night has gone by without Anna having been found. Hope is fading but her anger with Sandro is increasing as she believes it is his fault that Anna has gone.



Shortly after the characters leave the island, the film makes us forget about Anna. Sandro chases after Claudia and the two of them temporarily find comfort in each others arms. But Sandro is not an easy man to love and Claudia finds herself with the same misery and doubts that Anna had faced.

There is an easy flow to this film. The camera moves effortlessly from scene to scene and at all times Antonioni is aware of what he wants to show us. The visual beauty of the landscapes only heightens the fact that each character is miserable and lonely. Each person is an island in themselves and occasionally, they let the others come near them.

There are two sequences in the film which highlight man's lust for beauty. In the following sequences, the men in a small town freely gawk at Claudia's beauty.




But all the town men are reflections of Sandro -- they chase after an object of desire and after having their way with them, look for the next beauty.

Beauty, Chaos & Time:

L'Eclisse (1962): Rating 10/10

Although Antonioni directed La Notte in between L' Avventura and L'Eclisse, the start of L'Eclisse feels like a scene which could take place a few days after the ending of L' Avventura. Monica Vitti appears in a similar black dress to one from the final scene of L' Avventura. Her character Vittoria is discussing her relationship with Riccardo. The words they exchange are something one would have expected Claudia to have shouted at Sandro in L' Avventura.





Vittoria and Riccardo go their separate ways and the camera freely drifts to the stock exchange where Vittoria's mother is a regular buyer and seller. The chaos and madness of the trading floor is beautifully captured. For a long while, we forget about Vittoria as the film focuses on the stock market's meltdown which results in a lot of people losing money, including Vittoria's mother. This segment of the story focuses on Piero, a sharp floor trader who is ambitious and knows the market's pulse.



When Vittoria returns to the screen, she and Piero engage in a little romantic tussle. Piero is clearly in love with Vittoria but she keeps him at a distance.





The next few shots show the distance between the two despite their bodies being close together.



This is one the most beautiful shots in the film. This hug speaks volumes -- two faces which touch but are miles apart. Piero knows that this is the last time he will ever touch Vittoria and Vittoria knows that she will leave him never to return.



The final sequence in the film is series of landscape shots which we have visited earlier in the film. The only difference is that the scenes are devoid of Vittoria and Piero. We see some new characters and in one case, Antonioni toys with us in trying to show a character that is similar to Vittoria.






I believe these scenes represent the passage of time. Vittoria and Piero have gone but time moves on. Earlier in the film, Vittoria had placed an object in a barrel of water and by the film's end, we see the water slowly drip out of the barrel. Eventually, the barrel is empty but we see no sign of her.

All the film's main characters are gone by the ending. They have moved onto other loves. Yet movements in the street go on. Beautiful and haunting.

Sexy mystery:

Blowup (1966): Rating 10/10

The choice of London and use of English language gives this film a very different feel from Antonioni's previous films.

Thomas (David Hemmings) plays a fashion photographer with an attitude. He wants to shoot the girls the way he wants. But he also gets bored easily (something he shares in common with other Antonioni film characters) with the stick beauties in front of him. When we first meet him, we see a carefree and reckless person -- his driving is rash and impulsive, just like his instincts for buying beautiful objects.

Eventually, we see a different side of him. He loves to photograph nature and is making a collection of photographing everyday shots of harsh reality. On a visit to a park, he comes across a couple enjoying a day out. He obsessively follows them, sort of like a modern day paparazzi (or what Paparazzo would have done in Fellini's La Dolce vita). The woman, Jane (Vanessa Redgrave) sees him taking the pictures and gets angry at him for invading her privacy. She demands the pictures but he refuses.

Later on, when he blows up the pictures, he finds a real mystery unfolding before his eyes. A murder, an affair? We see what he sees in one of the film's intense and engaging sequences. Our curiosity is pricked and we can't wait to find the answers. But we never do get the answers we want. And that is how life goes. An adventure (L' Avventura) that hides a mystery?

The Camera that knows it all:

Blowup is a visual treat like Antonioni's other films. In all three films, the camera moves freely from one locale to locale. Even though at times, we may feel that the camera is giving us the freedom to see everything, we have to be aware that we are only seeing what Antonioni wants us to see. So sometimes we are offered a close-up, a long shot or even a 360' degree view of the sky. At all times, the freedom of the camera is exactly the kind of freedom that Antonioni wanted the camera to have. This controlled freedom is a real pleasure because his camera freely follows one character and has no hesitation about leaving one character mid-stream to chase another. Each character is only followed until there is something worth noticing about them. Once they go off-screen, we really don't miss them because we have now moved onto more interesting characters.

In L' Avventura & L'Eclisse characters disappear off-screen -- a character walks out of a scene and out of the movie. But in Blowup's final scene, a character disappears in front of our very eyes. Time has moved on. The camera has shown everything that needs to be shown. Lights out. Nothing more to see here. We can leave.

But the images stay in our head. We replay them when we close our eyes. The camera may be turned off but the audience can use their neurons to fire those visuals up. The artist may be gone but his work lives on..........................

Abel Ferrara Films

Abel Ferrara Spotlight, part II and III

Part Two: Sin and Redemption

The Addiction (1995): Rating 9/10

This is a very intelligent and creative take on a vampire film. While the usual vampire films feature topics of God vs Devil and basic religion morality, The Addiction adds a layer of existentialist philosophy along with discussions of man's hunger for evil on top of the regular religious conflicts.

Kathleen Conklin (Lili Taylor) is doing her ph.D in philosophy and at the film's start, she is watching horrific images of butchered Vietnamese at the hands of American soldiers. While walking home, Kathleen is troubled by all this savagery and is lost in her thoughts when she is suddenly dragged into an alley by a vampire (Annabella Sciorra).

The lighting is just wonderful in the scenes when the vampire descends on Kathleen. In the above shot, we don't ever clearly see the vampire's face and the mixture of light and shadows shows a terrifying image.

The next three pictures show how Kathleen's expressions change as she becomes an unwitting victim.



It is not very clear but in the next picture you can see the blood dripping on a satisfied vampire's mouth.

After this attack, Kathleen goes through a physical and mental change. She is constantly sick and throws up frequently. Her body is weak and her mind forces her to look for quick fixes like drugs to ease her pain. But it is her mental change that is even more drastic. Previously, she had been horrified at images of man's evil. Now, she only looks at the pictures of horror with cold gazes. She is trying to understand the evil but her emotional attachment to humanity is weakening.

"There is no history. Everything is eternally with us."

Her hunger and thirst grows to a point where she starts lusting for victims. She hunts down people close to her with some strangers thrown in the mix. She does not spare her teacher and even her closest friend. When her friend wants to be spared, Kathleen responds with "Prove there is no evil. Then you can go." She is still struggling to understand all the horror around her.

On a particular night, she lures a man. But this is not an ordinary man.

Peina (Christopher Walken) is a supreme vampire at ease with his situation. He quotes Nietzsche and gives a lesson to Kathleen on the meaning of being a vampire.

"You are a slave to who you are."

Then Peina inflicts more pain as he re-bites Kathleen with more gusto than her first experience.

"Eternity is a long time. Get used to it."

But Kathleen does not want to get used to it. She is tired of her life and tries to end it but she can't. In way of advice to cope with her situation, Peina tells her to read Sartre and Beckett.

After she dives into existentialism, she starts to make sense of the evil around her.

"Our addiction is evil."

She draws a conclusion between man's killing nature and even her habit of finding victims to satisfy her thirst. Her thesis impresses all the professors and she proudly gets her doctorate.

On the way to a party arranged by her, she is content and composed:

"We drink to escape the fact that we are alcoholics.... Existence is the search for relief from our habit and our habit is the only relief we can find."

In moment of her supreme confidence, she comes across a man on the street preaching the word of God and giving out fliers. The flier has an image of Christ on the cross. That simple photo throws Kathleen off balance. She screams "I will not submit" and goes into a fit of rage. In her anger, she and her vampire friends descend on innocent people in a gruesome blood orgy buffet.

But the fit of anger revealed something about Kathleen. Unlike the other vampires around her, she is still torn inside between religion. Peina & Casanova (Annabella Sciorra) have freed themselves from thinking about God because they have chosen the path towards existentialism. Kathleen can't completely give up a part of her catholic upbringing and she finally realizes that the only way she can save herself is by religion.

The final sequences of the film shows her finding redemption only by fully accepting the word of God and throwing aside everything else she has learned.

Bad Lieutenant (1992): Rating 9/10

As the title indicates, Harvey Keitel plays a lieutenant who commits every imaginable sin -- gambling, drugs, lying, stealing and killing. He is not afraid to speak his mind and even shocks his colleagues when he shows no remorse at learning about a nun getting raped. He is made part of investigating the nun's case but he is not interested. The only interest he has at the moment is trying to learn how the New York Mets will do as that will help ease the gambling debt he incurred by betting on baseball games.

He is not afraid of the criminals to whom he owes a huge debt. The following words convey his state of mind:"No one can kill me. I am blessed. I am a fucking catholic."

In a drugged state, he goes to the nun asking if she wants revenge on the two men who raped her. He is shocked when the nun tells him that she has already forgiven the men. He can't understand that.

After the nun leaves, he sees an apparition of Christ. At first he is angry and starts by throwing a rosary towards the image of Christ.


His emotions go from anger to sheer misery.






In the end, he finally comes to peace with himself and only finds redemption by going back to his religious roots.



This is not an easy role but Harvey Keitel has fully given himself to the role. He is both naked on screen in the physical sense and lays all his emotions bare for everyone to judge.

Both the above films had two very different characters but in both cases, the main characters only achieve peace by giving themselves completely to God.

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Part Three: Cops and Killers

Fear City (1984): Rating 5/10

Beware. The killer is on the loose. But he does not just kill random people -- he targets prostitutes, exotic dancers and pimps. This does not please Matt Rossi (Tom Berenger) who owns most of the girls getting killed. Matt is a former boxer and images of his fights are spliced in between the scenes to convey his anger. The killer is a karate fighter (and a follower of other Eastern martial arts) who is on a mission to clean the city of filth. Naturally, the film's climax is a battle between the two men and no prizes for guessing who wins.

Religion is a common theme or element in Abel Ferrara and Nicholas St. John's films and Fear City is no exception. Before his major fight, Matt heads to a church to ask God for strength. Overall, the film is typical of 80's TV -- dramatic scores, quick cuts, sloppy action and bad acting. The only thing carefully constructed is Melanie Griffith's strip show.

Note: there is a line of dialogue in the film which would have passed without much comment back in 1984. Matt is very angry and can't wait to kill the person hunting his girls. But he is asked to show some calmness by one of the mobsters, who has seen enough through the ages. He wants Matt to understand the enemy and says the following: "You can never prevent terrorism. You can only find its root and destroy it." Such words today would carry a completely different context.

King of New York (1990): Rating 8/10

Christopher Walken plays Frank White, a gangster boss who has just gotten out of prison. While he was away, his boys led by Jimmy (Laurence Fishburne) did his dirty work. Slowly, Frank's gang starts taking over all the illegal operations in New York. A trio of cops try their best to stop them. But no matter what Dennis Gilley (David Caruso) and his colleagues do, Frank's boys get out of jail because of their expensive lawyers.

In a interesting scene, Frank visits the head investigating cop and tells him that he is only killing gang members that were corrupt and immoral. He mentions that drug trade existed before him and will exist after him. All he is trying to do is to ensure that the illegal activities are run in a clean businesslike manner.

Notes:

-- One can find shots of rosaries hanging in a car when a gang member is dying. The tiny hint of religion still finds its way among killers.
-- Wesley Snipes plays one of the trio of cops who do everything within and outside their power to stop Frank. In one scene, Snipes makes a harmless comment about a vampire. Little did he know that 8 years later, he would play a vampire hunting Blade.

The Driller Killer (1979): Rating 4.5/10

The following message is shown before the picture starts:

Coupled with the film's title, I imagined the noise would be from gruesome killings in the movie. But as it turns out, the loudness in the movie is because of the nonsense music played by a band which contributes towards driving an artist into becoming a killer with a drill.

Reno Miller (played by Ferrara himself) is an artist working on a piece that will bring him and his girlfriend much needed cash. But all around him there are distractions and noise. For example, in the downstairs apartment a band is constantly playing loud music at all times of the day. The constant source of noise prevents Reno from getting any rest or focusing on his work. Eventually, Reno starts to lose touch with reality and his nightmarish images start entering his daily life. His character is closely related to Travis Bickle from Taxi Driver. There is even a scene which is a tribute to De Niro's famous "are you talking to me?" monologue. Reno is looking at his masterpiece painting of a buffalo. He feels the buffalo's eyes are glaring at him and asks the creature: "what are you looking at?". In Taxi Driver, it was a mirror that reflected Bickle's dual personality. But in The Driller Killer Reno finds meaning in his painting.

**** A spoiler -- word about the ending ****

Reno runs around unleashing his terror on homeless people or whoever he comes across. At first, his killings are done when he is taken over by his dual personality. But by the end, the two personalities mesh and in his conscious state, he goes out to seek revenge on the woman who left him. In the film's final scene, his ex-girlfriend gets into bed thinking its her lover who is under the covers. The screen goes black and we can hear her asking her lover to come closer. We can only her muffled responses from Reno. The credits roll but we know what will happen to the woman.

The title and the weapon of choice may lead one to believe this is a slasher film. But despite few gory scenes of blood, the film spends most of its time examining Reno and showing his character's transformation. It will be interesting to see how the version Hollywood is remaking in 2008 will play out.

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And finally, some shorts:

Ferrara started his career with a trio of shorts -- Nicky's Film (1971, 6 min), The Hold Up (1972, 14 min), Could This Be Love? (1973, 29 min).

The grainy video transfer of the silent short Nicky's film make it hard to understand the story but it appears to be about a character trapped in a nightmare. The Hold Up shows how a character who is guilty in stealing money is able to get away because of his connections. Such a theme would be explored in King of New York when Frank's men got away with murder (literally).

The most interesting of the shorts is Could This Be Love? which looks at how high society looks down upon middle class hard-working people. The film is about an artist who believes she is above the filth of society. Her boyfriend is no better even though the artistic shoe he designs appears to be completely unusable. The two throw parties where their like minded friends laugh at other people who they feel are below them. In terms of theme, this short stands out from Ferrara's other work which have focussed on the underground aspects of society where criminals and hookers thrive. Ferrara has also equally explored the layer of heroes and cops who fight the underground criminals. Quite often in his films, the two layers collide with justice sometimes taking a back seat to the harsh reality of life on the streets of America.

Abel Ferrara films

Director Profile: Abel Ferrara, part I

Over the last few months, I have seen Abel Ferrara's name mentioned quite a bit both on film magazines and Internet film sites. A big reason for that has been around Ferrara's latest film Go Go Tales which premiered at Cannes and garnered a lot of attention. I must admit that when I first saw his name, I could not pin-point which films he had directed. But after a quick search, I found that I was familiar with a few of his films. I had seen Body Snatchers and knew about Bad Lieutenant. However, one film title stood out -- Crime Story. When I was a young kid, I used to love watching the TV series Crime Story. In fact, I used to stay up late (way past my bedtime) to watch the show. Even though I was too young to understand the plot intricacies, I knew enough to be able to identify Dennis Farina playing the good cop and the character Ray Luca (played by Anthony Denison) as the bad guy. And ofcourse, the opening credits song was burned into my head. Almost two decades later, I can still remember the lyrics clearly:

"And I wonder
I wa-wa-wa-wa-wonder
Why
Ah-why-why-why-why-why she ran away
And I wonder where she will stay
My little runaway , run-run-run-run-runaway"

So it was appropriate that I should start my Abel Ferrara spotlight with the pilot movie that started the series that I loved so much....

Crime Story (1986): Rating 7.5/10

The title song comes on. Memories gush in and a few seconds later, Dennis Farina appears on screen playing the tough no-nonsense cop, Lt. Mike Torello. The countdown starts until the smooth talking manipulative mobster Ray Luca appears. But after my happy memories fade away, I find myself faced with a film that was typical of what I remember about 80's TV -- tough macho men, cheesy dialogues and average production values. Ofcourse, it is unfair comparing TV of the past with the slick productions that exist today. Still, it was worth watching this film to know how the rivalry between Lt. Mike Torello and Ray Luca started.

In the film, I was surprized to find the presence of a younger David Caruso playing a punk gangster who is eager to make it big. Ofcourse, back then David Caruso was at the start of his TV career and his famous roles in NYPD Blue and CSI were still about 7 and 16 years away respectively.

Now onto some Ferrara films that I never saw before....

New Rose Hotel (1998): Rating 6/10

Based on a short story by William Gibson, New Rose Hotel is a story about corporate espionage. I can see what Ferrara was intending to do with this film but the end result is a dull hazy dream. Fox (Christopher Walken) and X (Willem Dafoe) have spent a year trying to hatch a plan to trap a Japanese genius, Hiroshi. But nothing they have come with is a good idea until Fox spots Sandii (Asia Argento) in a club. He offers her a million dollars to woe Hiroshi. She eventually agrees despite X not liking the idea because of his love towards her. How she manages to crawl into bed with Hiroshi is kept off-screen. This is a good strategy on Ferrara's part as it forces us to see the movie from X's point of view. X is in the dark regarding Sandii and what is going on with her after she leaves for Marrakesh with Hiroshi. And the lack of information coupled with a few tidbits of rumours tears him apart. The movie's grainy video footage adds to the nightmarish trip that X is going through. As he is trying to rehash the past, the same scenes are repeated over and over without any variation. While X maybe be thinking the same things over and over, having the audience see the repeated scenes adds nothing to the movie. As a result, the film loses any freshness and slowly grinds towards the end.

The Funeral (1996): Rating 8.5/10

"You know what your problem is? You read too many books. F***ing up your brain."

Johnny: "That's the American tragedy -- we need something to distract us. That's all we got is books[sic]. Maybe radios and movies. Keeps us alive."

Not exactly the words you would expect in a gangster movie, but this is not an ordinary mobster film. It is Ferrara's take on a mafia story seen through the eyes of the three Tempio brothers and the women around them.

Johnny (Vincent Gallo) is the youngest of the three brothers (22 years) and the only one capable of speaking the above words. Yes he is reckless but he does think every now and then. Chez (Chris Penn in an electrifying role) is a highly emotional person -- one minute he is calm and considerate, followed by a sudden burst of violent anger and a few moments later in tears and in a suicidal state. Ray (Christopher Walken) is the eldest and is almost a fatherly presence to both. He knows when to kill and when to not pull the trigger. Ray evaluates all his actions from a moral point of view and is not afraid to use religion to reason things out.

The movie starts with a funeral and has a few flashback sequences which are not entirely related but shed some light on each of the brother's personalities. For a change, we also get to see things from the women's point of view with Jean (Annabella Sciorra) being given the most interesting part as Ray's wife. As Jean mentions, the women can only stand on the sidelines and watch the Tempio men throw their lives away.

The film is raw and provides emotional scenes that other mobster movies wouldn't bother having -- family arguments over trivial matter, mobs discussing the merits of taking revenge or not, etc. Best to watch without knowing the story as Ferrara is not afraid to throw in a complete surprize or two just when we least expect it.

Next up: 5 more Ferrara features along with some early shorts.........

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Parts II & III of the spotlight.

Brazilian Cinema

Spotlight on Brazilian Cinema, part three

When I started my spotlight on Brazilian cinema a few months ago, I had a few selected themes that I wanted to focus on. But after seeing more than a dozen films, I decided to abandon the themes -- the films were so rich and diverse that trying to squeeze each film into one theme was not doing justice to the movies. However, the one elements that stands out from all the viewed Brazilian films is the beautiful cinematography; it didn't matter if the film is by a first time director or an accomplished film-maker, the visuals are perfect in all cases. In that respect, cinematography in Brazilian cinema is the best in the world alongside films from Taiwan, India and Hong Kong.

Just like India, Brazil is a complex and diverse country featuring many ethnicities and plenty of varied landscapes such as forests, beaches and desserts. In the hands of talented camera men, the wonders of Brazil's natural beauty are captured perfectly on screen and help form the backbone of an engaging narrative.

God is Brazilian (2003, Director Carlos Diegues): Rating 7/10

Diegues is considered one of the film-makers responsible for the Nuevo wave of Brazilian cinema. But his talents are almost wasted on this comedy about God visiting earth. In the film, God (played by Antônio Fagundes) is tired of the daily stress and wants to take a vacation. So he visits Brazil in order to find a saint to temporarily replace him. God shows up in front of Taoca (Wagner Moura), a light hearted simpleton. The two of them undertake a journey across the beautiful Brazilian landscape in search of the saint. Along the way, God performs some magic to prove his identity and even to earn some money for their journey. It is rare to see special effects in a Brazilian movie but the limited effects add to the film's visual beauty. The screenplay and acting however leave a lot to be desired.

Drained (2006, Director Heitor Dhalia): Rating 10/10

This is one of the most witty and original films I have seen this year. Credit for bringing these eccentric characters to life goes to Lourenço Mutarelli who wrote the novel and to Heitor Dhalia for bringing pitch perfect performances from his cast. The film can be described as a deadpan dark comedy but the main character Lourenco (Selton Mello) is much more dangerous than any character in a Jim Jarmusch or Aki Kaurismäki film.

By profession, Lourenco collects people's antiques. But it is never clear whether he sells these antiques or simply keeps them for his collection. He decides the value of each antique himself and if he likes the story behind the item, be buys it. His office (housed in a warehouse) is always lined up with people waiting to sell their item by pouring their heart out to Lourenco. But right from the film's start, Lourenco's mind is preoccupied with two things -- Garconete's behind (a waitress played by Paula Braun) and the foul smell that comes from his bathroom. It would be unfair to give away any more details but the unique characters and scenarios make Lourenco's life hell.

There are some audacious camera shots in the movie -- the opening sequence features the camera shamelessly glaring at Garconete's behind -- we watch every swing as she gracefully heads to work. The film stands out from other Brazilian films because of its visual choices -- there are no bright colors saturating the screen but instead brownish colors are prominent.. Also, there are no scenes of beaches or any other visual cues that could place this film in Brazil.

On the other hand.....

Baixio das Bestas (2007, Director Cláudio Assis): Rating 8/10

Bog of beasts contains all the elements associated with Brazilian cinema -- heat, crime, sex and sensuality. The film is set in a small Brazilian town where not much happens on the surface. But underneath the surface, every possible sin is committed. The local town cinema has been long shut down. So as part of the town's entertainment, the local men head to a designated location every night to see a naked girl -- the girl's grandfather brings the girl every day and asks her to remove her clothes for the men who pay him; he decides when she should put her clothes back on. The raging hormones are kept at a distance but is it possible to keep the girl safe from all those prying eyes?

The film is raw and attempts to show the naked animal behaviour of men. The camera does not flinch during an orgy scene that turns into a gross rape because of the dangerous mix of alcohol, boredom and lust. It has been 5 years since Assis last directed a film. His 2002 film Mango Yellow contained plenty of lasting images about life in Recife. With Bog of beasts, he leaves the port city behind and heads inwards to the Brazilian countryside where the mood is darker and life more bleak.

The Samba Poet (2006, Director Ricardo Van Steen): Rating 7.5/10

Van Steen's film is based on the real life story of Noel Rosa, a famous samba artist. The film follows an often tried and tested formula used to depict life of people who go from being a nobody to achieving instant fame only followed quickly by their decline -- we are shown scenes of his initial love with Samba, followed by how Noel rose to fame and had a passionate affair followed by how he lost everything. However, in Noel's case, his decline was accelerated by his ill health. Ofcourse, his fiery affair also added to his problems. The film does a very good job in showing how Noel turned everyday incidents into catchy music and formed his unique voice.

Spotlight on Taiwan, take two, part two

"Did you like the movie?"
"A bit too serious".
"You prefer comedies?"
"Not really. But it didn't have to be so sad."
"Life is a mixture of sad and happy things. Movies are so lifelike, that's why we love them."
"Then who needs movies? Just stay home and live life!".
"My uncle says we live three times as long since man invented movies."
"How can that be?"
"It means movies give as twice what we get from daily life."
-- Yi Yi (A One and a two), Edward Yang

In April, I had planned my spotlight on Taiwan by watching films from Edward Yang, Hou Hsiao-hsien and Tsai Ming-liang. Both Yang and Hou are credited with the "New Wave of Taiwanese Cinema" (starting from the 1980's) while Tsai is considered part of the Second New Wave, starting from the 1990s. But I put the spotlight on hold until the past few weeks. Over the last few months, some significant events have occurred with regards to the two New Wave directors -- the World unfortunately lost Edward Yang who passed away on June 29. And Hou Hsiao-hsien's first non-Taiwenese film, The Flight of the Red Balloon premiered at Cannes leading his work to be judged in a newer light from his native Taiwanese works (Café Lumière was still a joint Taiwanese/Japanese venture).

Now, the first Edward Yang film that I have seen is the last film that he completed -- Yi Yi. One film is not enough to establish a proper analysis but Yi Yi is such a beautiful film that it can stand on its own.

Yi Yi (2000, Director Edward Yang): Rating 10/10

There is a poetic beauty that resonates throughout this film which shows the complicated lives of the Jian family and the people that interact with them, including their neighbours, friends, relatives and co-workers. In the hands of a lesser director, the film would have turned into a melodramatic soap opera as the topics covered include wedding, affairs, first love, relationship crisis, corporate politics and even murder. But Edward Yang ensures that all the issues and characters are handled tenderly and each character is given enough screen time so that the audience can get to know them better and understand their motives. Even at a length of 170 minutes, the film does not feel long and is a real heart warming tale.

Film Style -- Edward Yang, Hou Hsiao-hsien, Tsai Ming-liang:

Going by Yi Yi as an example, Yang's style is closer to that of Ang Lee rather than Hou Hsiao-hsien and Tsai Ming-liang. Ang Lee has handled family oriented stories in the past which is what Yi Yi is -- multiple characters are shown with screen time given to each character; there are no long takes in Yi Yi but sometimes depending on a situation, the camera lingers around a character for a few extra seconds. Whereas, both HHH and Tsai use long takes (with less edit cuts) to focus on one or even two characters in their films. The long takes allow us to soak in all the details around the characters and to fully understand their motives. Two different styles but the end result is still the same -- absorbing cinema!

Hou Hsiao-hsien:

Millennium Mambo (2001): Rating 7.5/10

One of the strongest aspects of Hou's Flowers of Shanghai was the colorful visuals which perfectly conveyed the exotic excesses of the brothels of 19th century China. With Millennium Mambo, Hou changes gears completely and portrays the club hopping life of Taiwanese youth. The film is basked in cool bluish visuals mixed with some bright neon lights as the main character Vicky (Shu Qi) alternates from clubs and bars while her boy-friend gets into fights. Shu Qi carries this film on her shoulders and the camera leisurely hovers over her as she changes clothes, walks around half-naked, makes love, gets into fights with her boyfriend and attempts to run away from him.

Vicky's character and the film's portrayal of modern youth in Taipei seems to have been the basis for the third short in Three Times. The 2005 released film contained three short segments set in three different time periods -- 1911, 1965 and 2005. Each short's visual look was completely different; the 1911 segment appears to have been straight out of Flowers of Shanghai and the 2005 segment has a similar feel to Millennium Mambo.

Tsai Ming-liang

When I came across my first film by Tsai Ming-liang What Time is it there?, it took me a while to let all the details sink in. It was a beautiful film but back then I didn't realize that I had jumped onto the story half-way. The original story of the main character Lee Kang-sheng (Hsiao-kang) started as early as 1991 with Youngsters. With each film, Lee Kang-sheng's character grew up and underwent a transformation -- along the way he switched jobs, fell in love, felt loneliness (even attempted suicide) and eventually found bliss working in the porn film industry. My last image of Lee Kang-sheng was achieving orgasmic joys along with singing/dancing around Taipei in 2005's The Wayward Cloud. In 2006, Lee Kang-sheng finally left Taipei for hot and sultry Kuala Lumpur as Malaysian born Tsai Ming-liang headed to his birth-land to cinematically capture Malaysia for the first time. I can't wait to watch that adventure but until then, I decided to catch up the story from the start. Well almost from the start...

A teenager rebels:

1992's wonderful Rebels of the Neon God shows a young Lee Kang-sheng developing a crush and getting jealous. But before he fell for a girl, he was angered by an act of vandalism directed towards his father. Despite his young age, he is patient and quietly waits to extract his revenge. In the end, he feels a tinge of guilt for his actions yet continues along his drifting ways. His relationship with his parents is starting to crumble as he is rebelling against society and himself -- he drops out of school and uses the money to spend time at arcades and wander aimlessly around the city.

Love and a place to stay:

Lee Kang-sheng has grown up slightly when we meet him next in 1994's Vive L'Amour. He atleast has a job, being a door to door salesman. Ofcourse, he is still as mischievous as ever. During a job visit, he finds a key hanging outside an apartment door. He quietly snags the key and sneaks in one night to find the apartment empty. The vacant apartment is in the process of being sold with the realtor (May Lin played by Yang Kuei-Mei) dropping by occasionally to show it to prospective clients or to use the place for her own sexual acts. It turns out that May Lin's lover (Ah-Jung played by Chen Chao-jung) also uses the apartment as a place to stay. So both Ah-Jung and Lee Kang-sheng find themselves as unexpected room-mates. While Ah-Jung is able to satisfy his desires with May Lin, Lee Kang-sheng finds pleasure by spying on the two making love and gratifying himself. But all three characters are extremely lonely in the vast and cold city. At the start of the movie, we find Lee Kang-sheng attempting suicide. His appetite for life is slightly increased thanks to the unexpected encounter with Ah-Jung.

A strange illness:

At the start of The River (1997), Lee Kang-sheng is quietly heading towards a department store. A girl heading down the escalator recognizes him and the two hang out together. This chance encounter proves to be fatal for Lee Kang-sheng. While tagging along with the girl, he finds himself at a film-shoot and is asked to play the role of an extra -- the film's director wants him to play a dead body floating in the river. Lee Kang-sheng is reluctant to play the role because the river appears to be 'filthy'. Still he agrees and is very convincing playing a dead body floating away. But shortly after that role, he develops a strange itch in his neck. Gradually, the itch develops into a mysterious illness which takes over him -- he is in constant pain and wants to die. His worried father is willing to try anything to cure his son but Lee Kang-sheng's condition gets worse.

In this film, we truly get to see a different side to Lee Kang-sheng's parents -- we get to see his father's secrets and observe his mother's day to day life. The illness that inflicts Lee Kang-sheng temporarily brings the parents together but it is clear their lives are drifting away. And a strange encounter between father and son also ensures that the two won't ever see eye to eye.

Another job and a real love:

Lee Kang-sheng's father passes away in 2001's What Time is it there?. While Lee Lang-sheng is not too concerned with his father's death, his mother is convinced the father's ghost visits them. Also the apartment flooding problem that the mother had fixed in The River mysteriously returns. Lee Kang-sheng has found a new job selling watches on a skywalk. One day a girl (Shiang-chyi) wants to buy his personal watch which has dual times. At first he is reluctant to part with the watch but eventually gives it to her. The girl tells him she is leaving for Paris the next day. After she leaves, Lee Kang-sheng is obsessed with Paris and the thought of that woman. He goes about changing all the watches around him (and even in the city) to reflect Parisian time. Meanwhile, Shiang-chyi is lonely and having a hard time adjusting to life in Paris.

The film is the first clear reflection of Tsai Ming-liang's influence. Just like François Truffaut used the same actor (Jean-Pierre Léaud) to play the role of Antoine Doinel in multiple films, Tsai is doing the same with Hsiao-kang (playing the character of Lee Kang-sheng). The one difference is the character of Lee Kang-sheng has gone on for more than 16 years and multiple films while Antoine Doinel was used in three films over a period of 11 years. In What time is it there?, Lee Kang-sheng watches The 400 Blows and falls in love with the film, while Shiang-chyi comes across an older Jean-Pierre Léaud on a bench in Paris. One cinematic circle is tied.....

The girl returns:

The short film The Skywalk is gone (2002, 26 minutes) is an epilogue to What Time is it there?. Shiang-chyi returns from Paris to discover that the skywalk where she bought the watch from is gone. In the absence of the skywalk, she attempts to cross the heavy traffic road and gets a ticket from a traffic police officer. Somewhow, she loses her id card as the officer was giving her a ticket. The loss of her id card is a symbolic reflection of her mental state -- she is at a loss because the missing skywalk represented a link to her past life in the city.

Near the end of the short, Lee Kang-sheng makes an appearance. He crosses paths with Shiang-chyi as he is going upstairs in an underground pathway. But Shiang-chyi does not recognize him and continues walking. Lee Kang-sheng stops, turns around and ponders. But he has no time to chase after her as he has a job interview to rush to.

Watermelon and sex:

What is Lee Kang-sheng's next job? We see him giving a nervous interview to be a porn actor at the end of The Skywalk is gone. He does not perform very well in the interview but the start of 2005's The Wayward Cloud finds him pleasuring women while eating a juicy watermelon all in front of a camera crew. So he must have impressed his employer somehow!

And that is where my contact with Lee Kang-sheng ends. I still have a few more months before I truly learn what he did in Kuala Lumpur.

Fade to black, end of film, theater shutdown:

2003's Good Bye, Dragon Inn shows a theater running its final shows before the inevitable shutdown. We see how the movie hall goes from days of being completely packed to only catering to a few film buffs. The once polished cinema is now falling apart and the rains causes water to flood the hall floors. Hsiao-kang only has a brief cameo playing the theater projectionist. One can imagine his character, Lee Kang-sheng working this job as a secondary stint to his porn star career. In fact, given Lee Kang-sheng's past behaviour, I would not put it past him to splice the film with shocking images from other films, a la Tyler Durden (Fight Club).

Curtains down. Rain drops.

Films viewed in this round:

Vive L'Amour (1994): Rating 8/10
The River (1997): Rating 9/10
The Skywalk Is Gone (2002): Rating 10/10
Good Bye, Dragon Inn (2003): Rating 7.5/10

---

part II of the profile.

The Bourne Trilogy

I first heard of Bourne when I was a little kid. My mother was watching the original 1988 movie and I decided to sit and watch a bit. I was young and could not understand much. In fact, I could not fathom the fact that the main character didn't know who he was. My mother tried to explain about his memory loss but I don't think I got it. I did remember the name Bourne and the book's author, Robert Ludlum. Time ticked away. When the new Bourne Identity came out in 2002, for some reason I stayed away. Likewise, I didn't see the second film, The Bourne Supremacy in 2004. However, over the last two years I caught bits of both films on tv and was quite impressed with what I saw; both films appeared stylish with some good acting. A few weeks ago after I saw the trailer of the third film, I decided to watch the previous two films to better prepare for today's release of The Bourne Ultimatum.

The Bourne Identity (2002, Director Doug Liman): Rating 9/10

A body floating in the water. And so it starts. A man in search of his identity. His first clues lead him to a personal bank account in Switzerland under the name of Jason Bourne. He finds that he owns money in various currencies and multiple passports. Who could have so many identities? The question keeps bothering him. While his memories can't dig up the past, his physical body starts defending him and acting like a programmed entity. He quickly becomes a target and needs to escape. Bourne comes across Marie, a young woman in need of money. In exchange for $10,000, Marie agrees to take Jason to Paris. Now, the two are hunted together. The shots appear to be called from the C.I.A headquarters in Langley by Conklin. But that is just the tip of the iceberg.

A very impressive start to the trilogy with the right balance of action and story. The acting is top notch with Matt Damon providing the exact precise coldness needed for his part. Franka Potente is wonderfully expressive in her portrayal of Marie -- her expressions of shock at seeing Bourne kill a man are something that most Hollywood films don't feature. Chris Cooper seems to be perfectly at ease playing the slimy double agent who can't be trusted.

The Bourne Supremacy (2004, Director Paul Greengrass): Rating 8.5/10

The film kicks off with Bourne and Marie relaxing in exotic Goa. But India was never going to be the ideal hideout anyhow. It's geographical closeness to Russia makes it a vulnerable target to anyone on the run from the Russians. Ofcourse, that is something that Bourne had not accounted for -- he always thought his enemies were his own countrymen and had no idea of a Russian plot. And it is precisely a Russian threat that finds Bourne and eliminates his love. A new chapter in his hunt starts with him digging up a past involving Berlin and Eastern European espionage. In the end, Jason Bourne moves closer to understanding his past.

The film is thin in story compared to the first film and focuses more on action. Ofcourse, all the action is very well filmed. Credit for that goes to Paul Greengrass who has crafted some fine moments in this film, especially the car chase sequence in Moscow. The addition of Joan Allen as Pamela Landy is a real coup as Allen's strong expressions are a pleasure to watch.

The Bourne Ultimatum (2007, Director Paul Greengrass): Rating 10/10

The film starts off with the final moments of The Bourne Supremacy with a wounded Bourne on the run in Moscow. Six weeks later, the action shifts to the U.S when the C.I.A are determined to eliminate Bourne, despite what Pamela Landy has to say. Turin, London, Madrid, Tangier are a few exotic spots before Bourne returns to New York to finally meet his past.

Paul Greengrass has taken some of the best elements from The Bourne Supremacy (car chases, fights) and combined them with the brilliant use of close-up shots used in his United 93 and crafted a breath-taking fast paced masterpiece! The action in this film is non-stop with the close-up cameras ensuring that the audience is constantly focused only on the right details. For example, Bourne and Nicky (Julia Stiles) are talking about the past in a Spanish cafe. The camera focuses on Bourne's face and we can see his eyes and ears are trying to keep tabs on what is going on around them. In the background, we can hear the usual cafe noises (like cups being placed on the counter, customers talking) while the camera stays focused on the two of them. And then the camera quickly jumps to show Nicky's finger nervously rubbing the cup. She knows about his past but he doesn't remember anything and her nervousness comes across in this one shot, even though her face doesn't give much away. We are only concerned with the two of them, so why should we be forced to see long shots of the cafe and the waitress as is often done in most Hollywood action films?

In Tangier, Bourne comes across the strongest agent (Desh) yet sent to kill him. During the chase, the background music plays at a fast tempo to stay in sync with the on-screen action. But when Bourne squares off with Desh (Joey Ansah), the background music stops so that we can hear the raw emotions of the tough knuckled fist fight. The hard hitting fight is just one of the several perfectly filmed action sequences in this film.

It was a real pleasure to be lost in the technologically advanced espionage world of Jason Bourne, Pamela Landy, Nicky and Noah Vosen (David Strathairn). The acting is perfect throughout with David Strathairn and Joan Allen providing perfect opponents for each other. This is how action and thriller films should be made!!

Overall: All the three films have been superb with the third one being the best of the lot.

Zodiac -- a hunt, mystery and the obvious sign

Just like one can't judge a book by its cover, one can't (and shouldn't) judge a film by its genre. Ratatouille & Zodiac are two of the best Hollywood films of 2007 but both were films that I had dismissed on first glance. Having already changed my mind about Ratatouille, it was going to be the turn of this dark serial killer film.

Zodiac (2007, Director David Fincher): Rating 10/10

A few minutes of dialogues and then bang, the first victim. No wasted dialogue, just straight to the point. The main characters of the film slowly start appearing, the cartoonist Robert Graysmith (Jake Gyllenhaal), crime beat reporter Paul Avery (Robert Downey Jr.), Inspector David Toschi (Mark Ruffalo). The first cipher of the killer's code arrives with a warning -- publish the code in the paper or innocent people will perish. Code is published and average citizens take a crack at breaking the code. With the code broken, the first set of clues are established. A jump in time later and another killing. Another code, the mystery widens. With each killing, the list of suspects grows. Trails lead to dead ends. Until, finally out of nowhere, a good tip leads to one alarming suspect. Yes, this might be him. Film is 98 minutes old. Then, with the suspect in front of the police, the camera fades to black.

No, it was not him. Then the real movie starts. A much faster paced investigative film with as much enthusiasm and intelligence as displayed in All the President's men. In that 1976 film, Carl Bernstein & Bob Woodward followed 'the money' to uncover the mystery. In Zodiac, Robert Graysmith starts with minimal information (newspaper clippings) and armed only with his keen sense of curiosity & observance. It is fascinating to watch Robert Graysmith uncover layer after layer of the onion peel. Each clue he receives, lights up the darkened path leading to the Zodiac. As the tension builds, the film charges ahead in the quest for the truth.

The film does a commendable job in keeping the audience involved. The clues are shown as they appeared to the real life people involved in solving the case. As a result, the audience arrives at the same conclusions along with the main characters. But what really makes this film stand out is its structure. The first 98 minutes make for a good film -- serial killer, victims, patterns, suspects, characters and clues. But it is during the last hour when the movie really shines. The final 60 minutes puts all these clues together and tries to fill the missing gaps. Since we have already been given bits of information before hand, when Graysmith starts putting together the full picture, we can follow his train of thought. We even get a sense of his fascination with the case and the lengths he will go to satisfy his curiosity.

Another strong aspect of the film is its ability to stay constantly focused on the main plot; any tiny diversions from the hunt are elements relevant to the story -- for example, a first date for Robert is a useful addition because it shows his obsession with the mystery.

Overall, Zodiac is a truly fascinating film that takes a often repeated genre in Hollywood films and turns it into a polished intelligent work. A film like this and even the South Korean director Bong Joon-ho's Memories of Murder (2003, also based on a real life serial killer) show that beauty & originality can exist inside an ugly pool of cliches.

Note: One can find some elements similar to Fincher's Seven. The fade to black shot at the 98 minute mark is similarly framed to when John Doe finally appeared before the police in Seven. The shades of darkness also evokes a mood found in that 1995 film.